Carmen

Reviewed by Holly Bartges

Who could possibly persuade a soldier to abandoned his dying mother, his troops, and his ultimate cause with war? None other than Georges Bizet’s 170-year-old firecracker, Carmen.

Denyce Graves as Carmen in Opera Colorado’s 2005 production of Carmen (11/3, 5, 8, 11, & 13). Photo: P. Switzer

Opening in their new home at the Ellie Caulkins Opera House, Opera Colorado lit the fuse for the firecracker to explode onto the scene.

For five performances, International Opera star Denyee Graves fills the shoes for the hot and spicy devil-may-care free spirited Carmen who works in a Seville cigarette factory. Aware of her brilliant sexual appeal she plays with admirers like small boys with wooden soldiers. When she’s done with them, leaves them on the floor for someone else to pick up or nonchalantly kick under the bed.

The Colorado Symphony Orchestra conducted by Stephen Lord lit the fuse with suburb musicality bouncing off the walls with lingering depth to tone and quality.

Under the stage direction of James Robinson, this production of Carmen struggled to keep the fuse lit long enough for the firecracker to explode with excitement and musical thrill.

A particular scene in Act IV, deliberately set in slow motion with the arrival of the toreador, Escamillo (David Pittsinger) works well expanding the stage to appear wider than it is, and works well with the cheering crowd. However, at the very beginning of the opera, when the burning embers begin to sizzle, the cast either appears to be moving in slow motion or struggling for energy to give the burning embers an opportunity to breathe with spit and fire.

No question, Graves’ mezzo-soprano voice is at the top of the operatic spectrum. But a spit fire Carmen she is not. All of the voices were spectacularly beautiful. If that was all there was to opera, one could listen to a recording. Visual arts play a huge part of the production of any opera, and one not only wants to hear her, but see this free spirit exercise her spontaneous playful teasing. Is it possible the score written for a Carmen to sing can’t be played to the hilt by a youthful star with spunk and grace? Is it possible a youthful star doesnŐt have the developed voice to fulfill Carmen’s musical requirements?

Set designer Allen Moyer provided the illusion of the Seville town square in Act I except for the wrinkled hanging backdrop. Wrinkles are expected in a community theatre production. For Opera Colorado in the Ellie, wrinkles in a backdrop is inexcusable.

In Act III, in the hillside gypsy camp where Carmen is most at home, the set fit perfectly in the scheme of things. However, in Act IV, at the bullring, the upstage set looked more like worn torn London where bombs exploded burning buildings to remnants. Most of the act was spent trying to figure out what upper stage was attempting to convey.

The proof of the pudding for the Ellie acoustics came with the opening of Carmen. It works. Although some of the spoken voices bounced off the walls too softly, creating a problem for the hard of hearing. The actors can trust in the acoustics, but without electronic devices, the actors must also keep projection in mind. Acoustics can only deliver what it is given.

Soprano Pamela Armstrong gives a knock out performance in voice and spirit as Micaela. A shy woman, uneasy to be in the square with the rambunctious soldiers, carries a message about Don Jose’s (Julian Gavin) dying mother. Gavin’s tenor voice carries clout, but his physical being fails to portray one who would pursue Carmen to her gypsy hideaway. When Micaela follows Don Jose to the gypsy camp, she does so in fear and trembling. It shows. Her prayer for protection from the unsavory characters becomes a high light for the three-hour show. Her notes enclose the emotions she feels.

Sung in French, Carmen is one of the most popular operas by novices and purists alike. With powerful music and stunning, rich dominant libretto, it falls diligently and easily on the ears. It only raises the question why the visual dramatic background is so difficult to maintain with high standards to match? Carmen wants to be seen as well as be heard with all the spark, spit and fire Bizet envisioned for her. Does one side have to be sacrificed to favor the other? Why can’t both be available?